MuseScore 3.

Yes, I mostly use both MuseScore 3 and 4 as notation and scrolling softwares for my compositions. As for the sound quality, I have a handful of free soundfonts I downloaded from the Internet, but which are pretty decent overall.

Not particularly. Beyond the overarching stylistic imprint Bach's music has left on my music, I don't think I could really point towards any further distinctively noticeable influences on my works. Inevitably, perhaps, certain subconsciously added details beyond my direct recognition and acknowledgement might seep in from the music of all other classical composers I admire, though at the end of the day I still prefer to think my works are at least slightly original in their conception.

@FugaxContrapunctus I can totally understand, listening to bach all the time has made me think like him too in some ways, whenever I hear a melody in my mind it reminds me of bach haha

Thank you for your kind words, even though, just as I have replied many times before to this kind of appreciation, to imply I could ever come the slightiest bit closer to the unsurmountable genius of Bach's unparalleled musical prowess than plenty other remowned classical composers already have is quite a massive overstatement. Worry not, however, for quitting at this point, or anytime soon for that matter, is not an option I deem even worth contemplating. Betraying my love and reverence for Bach's music, no matter how feeble and lacking my homage may be, is not a path I intend to ever tread as long as I remain of sound mind.

@@joshuamusic02 I hesitate to even tell you, but the texts in my motets and chorales are short of mere placeholders. Perhaps contrary to the norm, here the text is fully in service to the music, and not the other way around, as usual otherwise. Therefore, the main priority for these compositions is not to showcase plain exercises on proper textual articulation, as that would require a higher degree of homophony than I would ever intend my works to partake in. Instead, the multiple texts involved act as a vehicle through which the unique character of each voice is reinforced through the musical idiosyncracies of the melodies at hand: it is the intervals, rhythms, durations, and motivic accentuation of each line that end up conditioning the text I may choose for it, and not the lyrics in question determining the texture and overall qualities of the piece from the very start, as would be viceversa. In short, the intelligibility of the text is simply not among my top priorities, and its inclusion herein is merely "instrumental" in nature, if you will: purely a tool by which my counterpoint can be put to song, nothing more. Since you have commented similar remarks on almost all of my vocal works thus far, I no longer have a choice but to declare that I don't intend to change my current compositional methods on this regard anytime soon. Thus, now provided with a greater understanding thereof, perhaps it is time for you to come to terms with that. Naturally I, as the composer, have minimal control, if any at all, over how my art is perceived and interpreted by my audience. Nevertheless, I figured out perhaps a brief clarification was needed here.

@@FugaxContrapunctus appreciate the clarification! i shall not mention it again, and i think your decision is admirable! I think perhaps you have gotten the wrong idea from my comments mentioning this; I am not criticising you, this music is far better than I could ever write! Wishing you well!

Indeed, although that chain of enharmonic modulations in quick succession with German augmented 6th chords as dominant seventh pivots at the end of his Requiem's Confutatis are a purer, more conventional version of their type, taught almost as a standalone method for quick modulations onto distant keys. Conversely, in this case, I used minor seventh chords as the enharmonic pivot leading to major seventh chords in the resulting key (with a few disonant suspensions to avoid parallel perfect fifths during the transition), thus changing the tonal centre by a distance of a tritone, which then modulates into the region of its own subdominant, that is, a semitone below the initial key. In short, it achieves the same outcome as the aforementioned type of enharmonic modulations, just with one extra step.

@@FugaxContrapunctus i would like to make an harmonic analysis of this piece.

so mozart was in A minor then goes in A diminished 7 with the 5 in the bass so VII/V and instead of using it as a predominant for V but instead of resolving it he make the bass note the new home key and reesolves the diminished chord as Ebdim - Eb7 and as a last thing he resolved the Eb7 to Ab minor, while you in the first modulation are going from ii dim to V/V that is the enharmonic equivalent of G german 6+ which act as a predominant for F#7 to then successfully modulate a triton away B min then you stay a little bit in b minor before modulating to E minor. Is that right? Very clever, have you ever tought of using neapolitan chords as pivit chords? i wish more people composed music like this.

@@Robotron-wd9em Your analysis, as far as I can tell, is thoroughly correct. As for modulations employing pivot neapolitan chords, I recall having seen them mentioned in certain 19th-century common practice harmony treatises, though I cannot quite remember having ever used them. Thank you kindly for the idea, I shall take note of this for future compositions.

cantamus.app/ + MuseScore 4's free MuseChoir soundbank library.

@@FugaxContrapunctus thanks a lot! Also great composition, compliments from Austria